European-language Writing in Sub-Saharan AfricaAlbert S. Gérard John Benjamins Publishing, 1 janv. 1986 - 1288 pages The first major comparative study of African writing in western languages, European-language Writing in Sub-Saharan Africa, edited by Albert S. Gérard, falls into four wide-ranging sections: an overview of early contacts and colonial developments Under Western Eyes ; chapters on Black Consciousness manifest in the debates over Panafricanism and Negritude; a group of essays on mental decolonization expressed in Black Power texts at the time of independence struggles; and finally Comparative Vistas, sketching directions that future comparative study might explore. An introductory essay stresses the millennia of writing in Africa, side by side with a richly eloquent and artistic set of vernacular oral traditions; written and oral traditions have become interwoven in adaptations of imported forms and linguistic innovations that challenge traditional high literary norms. Gérard uses the mathematical concept of fuzzy sets to explain why the focus on Black Africa has led him to set aside for future analysis the literatures produced in North Africa, which fall under the influence of Muslim civilization, as well as the diasporic literatures of the New World. Over sixty scholars from twenty-two countries contribute specialized studies of creative writing by leading authors in the nineteenth and twentieth centuries such as Achebe, Mphahlele, Ngugi, Senghor, Soyinka, and Tutuola. Critical analyses are organized primarily around regions, reflecting different colonial languages imposed through schools and other social institutions. Some authors trace the adaptation of western genres, others identify syncretism with folktales or myths. The volumes are attentive to the heterogeneity of national literatures addressed to polyethnic and multilingual populations, and they note the instrumental politics of language in newly independent states. A closing chapter, Tasks Ahead, identifies areas for future scholars to explore. |
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Page 53
... play which is entirely devoted to the black poet from Granada, La comediafamosa de Juan Latino by Lope's disciple, Diego J iménez de Enciso (1585—1634).30 The writer has skilfully placed Juan at the centre of a network of tensions which ...
... play which is entirely devoted to the black poet from Granada, La comediafamosa de Juan Latino by Lope's disciple, Diego J iménez de Enciso (1585—1634).30 The writer has skilfully placed Juan at the centre of a network of tensions which ...
Page 109
... play by F. K. Fiawoo (1861—1969), The Fifth Landing Stage was published in London, but it was, significantly, a translation from the Ewe. Until World War II in fact, the real impetus and bulk of writing in the Gold Coast was in the ...
... play by F. K. Fiawoo (1861—1969), The Fifth Landing Stage was published in London, but it was, significantly, a translation from the Ewe. Until World War II in fact, the real impetus and bulk of writing in the Gold Coast was in the ...
Page 111
... play in his own language in 1941, Joseph Boakye Danquah (1895—1965), issued a dramatic work in English, The Third ... play's conclusion. As a play, The Third Woman is devoid of interest, but as one indication of the growing West African ...
... play in his own language in 1941, Joseph Boakye Danquah (1895—1965), issued a dramatic work in English, The Third ... play's conclusion. As a play, The Third Woman is devoid of interest, but as one indication of the growing West African ...
Page 114
... play The Fifth Landing Stage). Andrew Amankwo Opoku (b. 1912) had previously published a play in Akwapem Twi, Odehuro (1953), in celebration of the Yam Festival; a later collection of his short stories was entitled Mo Ahenewa (1961) ...
... play The Fifth Landing Stage). Andrew Amankwo Opoku (b. 1912) had previously published a play in Akwapem Twi, Odehuro (1953), in celebration of the Yam Festival; a later collection of his short stories was entitled Mo Ahenewa (1961) ...
Page 132
... play and a new Dahomean play of historical inspiration, L'Election d'un roi au Dahomey, were performed. From a strictly theatrical point of view, this was an ambitious attempt. The play comprised three acts and nineteen speaking parts ...
... play and a new Dahomean play of historical inspiration, L'Election d'un roi au Dahomey, were performed. From a strictly theatrical point of view, this was an ambitious attempt. The play comprised three acts and nineteen speaking parts ...
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